The latest reviews and critic recommendations from Opera.
New York City Opera's production of Jacques Offenbach's LA PERICHOLE feels right at home at City Center, home of the 'Encores!' series, which reintroduces audiences to lesser known Broadway musicals that failed or went out of fashion despite wonderful scores.
The 2012-2013 season at Houston Grand Opera (HGO) has been filled with stunning performances of astounding operatic talent; however, their current production of Richard Wagner's TRISTAN AND ISOLDE may be the sparkling gem of this fascinating season.
The Canadian Opera Company's production of LUCIA DI LAMMERMOOR, directed by David Alden, opens tonight, April 17.
Since moving out of the Lincoln Center two years ago, the New York City Opera has taken to playing its productions at a number of venues throughout the city, including the Brooklyn Academy of Music, but Sunday marked a homecoming for the company.
The groans were audible--no, powerful--when the Metropolitan Opera's General Manager Peter Gelb stepped out in front of the curtain on the second night of the company's new David McVicar production of Handel's GIULIO CESARE.
Houston Grand Opera (HGO)'s 50th World Premiere Opera had its first public performance last night at Asia Society Texas Center.
Since its premiere in 1859, Faust has been a moderate success in comparison to its counterpart, Goethe's epic drama of the same name, and the Mets current revival of the 2011 production holds true.
Houston Grand Opera's 41st World Premiere Opera CRUZAR LA CARA DE LA LUNA/TO CROSS THE FACE OF THE MOON premiered in the Brown Theater at the Wortham Center on November 13, 2012.
I've always been a sucker for a good vampire story--and Heinrich Marscher's opera DER VAMPYR fits the bill, though I don't expect it to turn up at the Metropolitan Opera any time soon.
Andre Previn's operatic version of Tennesee Williams's A STREETCAR NAMED DESIRE, with a libretto by Andrew Littell, made its belated New York debut at Carnegie Hall on Thursday.
With a popular opera by Rossini already co-opting the title OTELLO, Verdi momentarily thought about calling his work IAGO, after the story's villain.
On Sunday afternoon March 10, the air was buzzing with anticipation at the Met, before the performances by the ten singers who had made it to the Grand Finals of the opera company's National Council auditions.
We all sat waiting anxiously for the curtain to rise on Riccardo Zandonai's 'Francesca da Rimini' after almost a 27 year hiatus on the Met stage; but with each passing act, one could sense the audience waiting for the closing curtain just as intently.
San Francisco Opera's new commission, a modern opera take on the classic children's story, "The Secret Garden," has trouble fully blooming.
The English Concert's spectacular performance of RADAMISTO had me from its first notes and swept me away to its unlikely but happy ending.
New York City Opera's production of Britten's chamber opera 'The Turn of the Screw' opened Sunday afternoon to a full house at Brooklyn Academy of Music's Howard Gilman Opera House as the Prologue, played by Dominic Armstrong, fills us in on the back story as it is played out onstage.
There used to be an ad campaign from a New York bakery company, “You don't have to be Jewish to love Levy's rye bread.
She is a beast to an exceptional degree.
I had the pleasure of attending the Teatro Lirico D'Europa MADAMA BUTTERFLY last evening at The McCallum Theatre and was once again swept away in Puccini's exquisite score and timeless love story.
Austin Lyric Opera's current production of The Marriage of Figaro clearly illustrates the brilliance and artistry of Mozart's music while poking fun at the hypocrisies of the upper class.
Full disclosure: I'm not fond of updating operas.
Running opposite the bright and colorful SHOWBOAT in Houston Grand Opera's winter repertoire is an austere and dark production of Wolfgang Amadeus Mozart and Lorenzo Da Ponte's DON GIOVANNI.
For the music alone, you can't beat Verdi's IL TROVATORE, with a demanding string of arias that, in the right hands (or voices), can raise the rafters.
You have to love the Italians--particularly the Milanese.
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Fiddler on the Roof Union Avenue Opera (7/03-7/11) |
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Samson et Dalila Union Avenue Opera (8/14-8/22) |
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L’elisir d’amore Union Avenue Opera (7/24-8/01) |
